Padmasana architecture is part of traditional Balinese architecture, it is a sacred building that functions as God's sthana (place/position). The existence of symbols as religious expressions is very thick coloring the realization of padmasana architecture, a very diverse typology, and there are still many meanings that need to be expressed. Padmasana tiga is one of the most important types of padmasana buildings, manifested from three Padmasana, standing tall on a rectangular base. Its unique shape, different from other padmasana buildings, gives rise to diverse interpretations, thereby increasing the attractiveness of this building for research. Padmasana tiga is located in the main and largest temple in Bali, Besakih Temple, on the slopes of Mount Agung, Karangasem Regency, Bali Province. The purpose of this study is to reveal the padmasana tiga functions and their typology which are closely related to the teachings of Shiva Siddhanta, so that they can be better understood by the Hindu community in Bali and the wider community. In order to express its function and typology, a descriptive qualitative method was used, by observing, documenting and interviewing Hindu priests, intellectuals who understood the Shiva Siddhanta concept, and undagi (traditional Balinese craftsman). Padmasana tiga is the embodiment of the great soul of the universe, a vertical representation of God, a God in three different realms called 'Tri Purusa'. Judging from its layout which is in the middle of the mandala (zone) facing the entrance and at its peak there are 3 rongs (empty throne), this padmasana belongs to the type of padmasana kurung (brackets). Judging from the number of rongs and the number of palih (level), which amounted to 7, padmasana tiga including the type of padmasana anglayang.

Emerging from concerns about the increasing work stress (occupational disease) that has an impact on mental health, nature needs to play a bigger role in the built environment, referred to as "biophilic design." The word 'design' in question is a creative process to create or design architectural works. Biophilia is contained in the third point in the Tri Hita Karana concept which is the basis of the vision and mission of Ngurah Rai University, this concept is used as a basic concept in the development of the Ngurah Rai University Faculty of Saint and Technology building, so it is very interesting to be an object of research. The purpose of this study was to determine the relationship between Tri Hita Karana and biophilia, the application of biophilic design in the development of this building, and to find new contributions in the application of biophilic design. The method used is a qualitative method, by establishing a relationship between empirical phenomena and theory in solving research problems. The results showed three biophilic categories: nature in the space; natural analogues; and the nature of the space, which is described into fourteen biophilic design patterns, has generally been successfully applied. The presence of nature can be felt as a string of images that move from entry to workspaces. The application of biomorphic shapes and patterns with natural materials and a touch of traditional Balinese architecture is a new contribution in the application of biophilic design in this FST building.

Pura (temple) is a sacred place for the Hindus in Bali, such as Pura Pabean, which is included in pura kahyangan jagat (temple for all people). Pura Pabean is located on the northern part of the main Singaraja-Gilimanuk road, Banyupoh Village, Gerokgak Sub-district, Buleleng Regency, Indonesia. The area also extends into the ocean and is positioned on steep rocky terrain. Unlike other Pura in Bali, this temple stands on the base of an ornament, as a Bedawang Nala (cosmic tortoise) with two dragons (serpents) wrapped around the body. The embodiments of the tortoise and the two dragons are the essential parts of the temple, with their heads overlooking the ocean. Therefore, this study aims to examine the interpretation of Bedawang Nala, as the Hindu icon located on the base of Pura Pabean. In this analysis, Capon's theory was developed and combined with the stages of the hermeneutic method. The analyzed Bedawang Nala was also a combination of Akupara (tortoise) with Vedava-nala (cosmic fire/fire of the apocalypse). This indicated that the body was similar to that of a tortoise, with the head being observed as a cosmic fire resembling the figure of a mare. The results showed that Bedawang functioned as an aesthetic and symbolic ornament, which depicted the bhu mandala (earth or region) in the middle of the ocean. This was a description of God's position in His manifestation, as the ruler of ports, trade, and water flow. These results are expected to develop the traditional Balinese architecture in the present and future activities and performances.

Garuda was known in prehistoric India, where his paintings were found in the Harappa (Sindhu River valley), then spread to all corners of the world affected by Indian civilization. Its head, beak and claws are eagles, the light of the gods shining from its body. While Wilmana as a picture of a space vehicle that moves beyond the speed of thought. Wilmana is also a worldwide character, presented in the world of the internet, film and games. Padmasana architecture is a sacred building as a place/position of God, on the back is often carved by the two kinds of decoration. This research about ornamental variety is research in the context of traditional architecture, as an exploration of building concepts that have been developed in the past and are useful to apply to contemporary architecture. This study aims to re-express the meaning of Garuda and Wilmana and how they are placed on Padmasana architecture. The steps taken are to record the Padmasana in the Kahyangan Jagat Temple in Bali, followed by comparing the use of these two types of decoration on each Padmasana. The next step is to interpret the meaning by connecting the object with its past (expanding the horizon of the researcher). The results of the study show that the use of Garuda and Wilmana decoration in the Padmasana architecture is not a necessity. The use of Garuda points to the message that humans must try to free themselves from the bondage of worldly passions. While the use of Wilmana refers to the sky vehicle that carries passengers, both Giant and Dewata to the place they want. Both are symbolic decoration types, have the same position, placed on the body behind the padmasana. The position of the two becomes different if applied together, Garuda is placed in a position above Wilmana, because only a soul that has been freed from worldly slavery can ride Garuda.